Stephen Curtis is a set and costume designer for theatre and production designer for film. His extensive theatre career spans more than three decades and embraces designs for dance, drama, opera, physical theatre and musicals, including major collaborations with Australia's leading directors, choreographers, festivals and performance companies.
Stephen's many striking designs for the stage include sets and costumes for La bohème, The Cunning Little Vixen and Lulu (Opera Australia), The Turn of the Screw (Huston Grand Opera), Shanghai Lady Killer (Stalker Physical Theatre), I Am Eora (Sydney Festival), Pygmalion (Queensland Theatre Company), Henry IV and The Servant of Two Masters Bell Shakespeare Company,The Venetian Twins (Nimrod Theatre Company), sets for The Secret River and The Government Inspector and sets and costumes for The Country Wife (Sydney Theatre Company), The Blue Room, All About My Mother and Tribes (Melbourne Theatre Company), The Alchemist and Scorched (Belvoir) and costumes for Der Ring Des Neibelungen (State Opera of South Australia).
Stephen's film production design credits include the features Looking for Alibrandi and Tracey Moffatt's stunningly visual Bedevil and Night Cries.
For many years Stephen has also taught design for theatre and film at both a secondary and tertiary level. He developed the new degree and post-graduate curriculum in design for the Australian Film, Television and Radio School where he held the position of Head of Design for four years. Stephen has recently published Staging Ideas: set and costume design for theatre as a guide to the design process for theatre-makers and theatre-lovers.
Whether teaching or designing classics or new or devised work Stephen approaches each production with a deep conviction in the role the design has in enriching the audience's experience, and the role the designer has as a creative collaborator in developing and communicating the creative vision of the production.
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Costume at the Turn of the Century (1990 - 2015) - Moscow, Russia - AABSCTM - June-August 2015
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